BEAMS (expanded edition) Adam Fieled

As I have discussed at length elsewhere, 2005 was a hectic, tumultuous time for me. On a bunch of different circuits (including the Philly bar scene and the art scene, which in the Aughts were first cousins), the Philly Free School was a fire set loose. My writing life wasn’t (couldn’t be) terribly disciplined at the time— though I had written “Wittgenstein’s Song” in April at the Last Drop, and debuted it in New England. My spring M.F.A. semester was nonetheless a personal milestone; through Anne Waldman, I became steeped in nouveau poetry and the avant-garde; and my piece (written for Anne) “Wordsworth @ McDonald’s” came out in Jacket #28 in April, too. Being younger than thirty and in Jacket Magazine was part of my wild ride then. I was feeling cocky, and puckish. It was in character for me in 2005 to believe I could create a valuable poetic form out of thin air. In truth, the eponymous section of “Beams” I wrote at that time is not a substantial formal breakthrough; what I call the “Beam” form isn’t that unique or striking. The poems have more strength in their thematic gist than in their formal inventiveness— lots of twisted, warped sexuality, precursor to the “When You Bit…” sonnets and the “Madame Psychosis” poems, written a year later. It wasn’t a stretch for me to be warped about sexuality in mid-Aughts Philadelphia, or New York, where Mike Land’s sister Anna lived in the East Village. The “Madame Psychosis” poems of ’06 were formally and thematically more self-conscious; partly because I was trying to be painterly (in the manner of de Kooning and his “Women”), partly because the formal imperative was to compress (in the manner of Keats), partly because I’d been perverted by a period of promiscuity, and knew it. Many of the best “Madame Psychosis” poems were written in New England; “debbie jaffe” was written in Rittenhouse Square, Philadelphia. I lifted the title of the series from Foster Wallace’s “Infinite Jest,” which I read at that time, and which was animated by a similar twistedness. One of my odd discoveries then was that a huge puritanical streak ran through avant-garde poetry in America. One female editor, in particular, castigated my pervishness in a memorable way, by laying down a gauntlet—if she was going to publish me, it had to be something more abstract or impressionistic, and not so sexualized. I wrote the original “Apparition Poems” (which later mutated in a more expansive direction) for her—some of them wound up coming out, also, in Jacket #31, and in a Lake Forest College Press anthology. As “Beams” was being written, my life tightened and became more focused- I finished my M.F.A., started as a University Fellow at Temple, and the Free School ceased to function as a cohesive entity. The “Virtual Pinball” poems, co-written with Swedish poet Lars Palm, were a kind of last hurrah for the profligate Free School period—written in an arbitrary, haphazard manner, often from whatever I happened to be listening to on the radio. By October ’06, I had compiled the “Beams” manuscript of the four series and sent it to Blazevox. It came out as a Blazevox e-book a year later. “Beams” is as close as I’ve come to publishing something representatively post-modern- a book which prizes quirk, anomaly, and disjuncture over depth and intellect. If I had to move past it instantly, it is because I found the strictures of post-modern verse too limiting. There’s too much human reality which can’t be expressed with quirk and anomaly; and too much ephemerality in the post-modern

approach for a disciple of British Romanticism to accept or embrace (even if UK poet Jeffrey Side connected “Beams” with Blake in his ’08 GR review of the book). If “Beams” has a claim to some enduring importance, it is because I dared to tackle a serious theme (human sexuality) in a few novel ways, and without unduly obfuscating what the theme was. Adam Fieled, 2013

Publication Credits

& Now Awards Anthology (Lake Forest College Press)- "Apparition

The Argotist— “café” Blazevox— “Call”, “Legs”, “Loose Canon” Cricket Online Review— “Sarah Israel” Dusie— “Apparition Poems” Eratio Postmodern Poetry— “Helen Lee” Jacket Magazine— “Apparition Poems” Mipoesias— “this is a song (about how I’m a monkey”),
“isla perdida”, “virtual pinball”

Nth Position— “debbie jaffe” Ocho #6— “creep” Otoliths— “Apparition Poems” Words Dance— “sex hex”, “solipsist”

"Beams" has been taught at Wofford College in South Carolina. A print edition of "Beams" was published by Human Touch out of Miami, Florida, in 2012.



i’m inclined to play creep w/ a bagel off-white dough gets kneaded black-shirted blue-jeaned green-horns indented floors absorb sponge-light looks for line-riches, coffee-crucial cafés leg strokes render you from his palm in paisley like an Oregon farmer ploughs couldn’t be more shared as you leave me, hardly, knock-kneed


what perspective I have is slanted edged like needle-scars along arm-veins everything I can’t puncture is there now “surprise” means you come back pointed to a blade, I call you razor as if fingers could untwine fish-eyes nails take off layers of anodyne bottoms grow hardened from rubs & sharpness be a baby’s candy

Sex hex

If she’s skittish, don’t skip her you might just be a ball of yarn unraveled beneath her nails or a bagged mind-fuck leaving her careening, ecstatic nothing wrong w/ a little push take her up, stroke her belly she’ll think of Foucault & possibly let you construct her


are you serious, fucking bent over bars, malt heavens bubbles bumping bed-posts, breakage sweating mug, street-lake sea-shells last night around yr waist you’re knotted, not what you did pressed to the city’s dry ice deep down the throat of a solipsist


napkin-neat café decomposition poster-plastered walls represent fresh being repetitious modes of sensual self-sacrifice not recoverable by any stub-cottony means lightning track-lighting long-swallow lit-smoke my grey-guts spattered on a table unstructured strength it could be, cherry-red cowardice parallel shadows unplaced by any given finally flight is taken from time’s impossibility for solid substance, death’s lettuce-deluge self-naming can’t be where this winds up


Leaves tonight are leaning spots of light inside inside-ness then when you pause a moment wade in Poseidon’s fountain cherish the night’s totality leaves become ground for christening

Infinite Regress

Modigliani-marvelous you collapsed perspectives “vessel” in torso-line, reflected back, over your shoulder you leapt from the frame colors in you remained canvas fore-grounded dimensions


if I could fashion a fashion from fashion your fabric fluttered over my chest styled slacks pressed the length of Chelsea shapely shadows arrayed over cheekbones shutters would close on our revelations hair askew, damp in rouge-red blood-flow a fashion past the lips of limitation defined not to distinguish or over-vogue but to green silk that had been dusky and to tease out each stark blue behind eye-lined, sky-lined walls of rigidity

Loose Canon

shots ricocheted at borders coated walls absorbed friction-lit brigades sensitive machines registered red hits sleep fell on specifics regardless universals fried sausages not much could be spoken of remorse second skirmish sent forces scattering shards of green glass littered forest floors irreplaceable antiques wiped their eyes on the cuffs of the loosest canon I didn’t expect immolation to arrive so soon


senseless propositions seem ruddy-cheeked in sky-backed night exhaust-fume dense from windowless space you’re black-hewn then, from spider-webbed heat (rubbed, boned over propulsions) clouded lights prove unstable, shoot themselves off damp felt ends of feeling…. a state of affairs untouched by contraction simulacrum of finite regression puddles and spoon-handles confuse themselves

emmie dreams are irrevocably dreamt much “noticing” goes on & metaphors are like similes you remain gravy-wakeful I remain carving this air-turkey “too cornered”, street between slipper-shod graces, facts; uncles, ex-cranberries; i can’t carve a relation


mimesis of no-détente (m)oral play of difference I follow breath to be as a blue painted vase El Greco-sepia room crossed corrugated lips regrets of rinsed locusts you “just knew” this would happen, as you “just knew” it’d happen when you painted me


Balance, easily sought, is hardly attained; no sooner are we aloft than we’re buried beneath snow-drifts; grace follows damnnation, damnation follows grace, & whiskey soaked evenings are always a possibility. In fact, it’s here that Li Po forged whatever stealth was his, in the first buzz of drunkenness. I follow him, rattled, jarred, & stymied by the world’s cries, & my own, & soon I sit amid piles on both sides— exultations, horrors, amassed like so many stamps, low-priced, out of date.


I’ve received, refused one invitation into Middle America. Her body was a cornfield, that’s true. Everything in it was ripe. She engraved the invitation on my bed, mixed it into my drinks, taped it on the fridge. It hovered between us like a mist, soon grew monstrous.

Shit or get off the pot, she said. Get while the getting’s good. I was lost in the green rows of her skin. I was
afraid of the Middle, it’s ice-creamy easiness. It dripped. By autumn, I blew it. The harvest moon shone on stubs. The pissed Middle swore to evade me forever. I don’t miss it.


every post you post is posted post-haste succor-seeking cocks in your hand and mouth seminal urges baffle you like nitrous chin-dribble takes back-space from your keyboard one hand pumps page-down, one inserts shift mixes drivel and nut-sack sweat I take tabs, control, alter, delete, sans cock-lock, escape-ready, home-truth entered your print inscribes epithets on my X-key at an outpost, post-modernity betrayed by your complete lack of question marks

Pay Summer’s leaving, it’s plague time. Penny-parted cogs scrape, blare, cut & swear. Voices stay wall-stuck, slashed between poppy-dog chains. I’ve got purple before me. It’s like a hunger-chiseled face. I pay & pay; smoked heads flung into grimace, I’m grimaced beneath smoke, oven-churned. She’s cigarettes, restless, side-walked. Excess weight pinches finely-nerved necks; mauve sky’s a bared torso, an “if”; I could chunder, that’s certain.


stepped leaning ladders perched like an easy-won confession “lover” is harder than it is easy you of all people know this paleness deployed in guerrilla lipstick attacks, Princess Leia bangs coming down rungs don’t walk under the trestles I climb sideways into paint-cans


#3 petals on a bed you made, against ocean’s breakers #27 not across, not down emptied, always grey such is this stuff such is a hat’s convalescence #14 through a door genuine article three geezers many nods pink Buddha #23 how sky, clods in it, seems a near-melt,

a blue-grey omelette; traipsing brick surfaces #17 three red flags, each winnowed around multi-colored stones, is how I’ve been hit, how I’ve been gutted

#19 stick to her blackness, you’ll find moving stripes #42 feet tap linoleum, shadow-play rhythm; not to be dogged, nerves infra-reddened

#45 “in order to” lose those blueberry shackles “fight hegemony” in moose-like context I don’t know how to #36 after all everything you’re still thinking ochre-tinted #61 never you worry honey on the table money


I rev clean across I’m paved I’m rolling in moss I save #87 windows up higher look through into great wide opus

#89 o it’s drab outside the trees really only me I see there

#91 “I have

eaten no plums” is what I told the tropepolice

#85 not to be mistaken not to be messed with not to be forsaken only to be blessed with how it must be on Jupiter

#75 sun is there not here anyway the bed’s made #70

here, look, coffee in a cup wouldn’t you just know I creamed it? #50 she seems to be up at me #52 conflate two leaves two ideas with veins don’t bark

#54 off, into rivers

currently where you be #100 art in “say” art in “do” art pass the ketchup #105 cut short, pumpkin, but that’s alright, as I feel cut also, by short kin, smashed. #150 last September cricket leaf falls on him #162

no room for thought glare on potted plants flawlessly dumbstruck

#163 your face beige wall it’s pictured not that I can reach

#168 maybe I’ll get broken in Hoboken I’m joking #169

you’ll see it’s urban as grease, breaths I take in a rush like this, this #170 éclairs conspire all in a line I’m hungry for them to be written #195 ordinary hull of a tight wad ship shop stop #200

my hands measure hyena arousal as my mouth laughs my my #201 “a dream of form in days of thought” the thought formed & it was a dream #203 Who watches as antlers convolute themselves? O dear #131 she in blue out the door cross in the street red light

#132 at this time you’re there but you won’t remain, can’t after all, it’s dear, staying #136 Pollock’s rhythm took him up maybe too far as to where we are #137 to walk is expressive of having legs

ad infinitum

#120 unlikely thighs put upon a page white, long, lined can’t complain #121 what do I know what does “last” mean “last” is not “lost” purple frame, clear door. #124 when a head tilts round eyes, snap


Sarah Israel

Memory wears white tee-shirts, is blue-eyed, that I "remember" her. This new kind of "I" passes fourth-grade notes, says "I like you" to her. It trailed off in her swimming pool. She was so spiteful. That "I" remember "her" is a kind of joke, but we did dance at Bar Mitzvahs. And some of them were slow. And some ended in other things. Call this an aesthetic of Tantalus. Tantalus was overeager in English class; a "he" in "she" seen by me. I heard of her exploits later. "She's so totally after him." "You don't have to strip to tease". I saw her in a seeing not seen by any eye, & the "I" that saw, saw my eye not at all.

helen lee

you said (it was a way of saying) hold me, touch, kiss. vagaries of bliss, explosive, like, lemons. like “like”. reach behind, “blind”. i’m, progressing, make. miner, key, brooding. expressive of the sole’s rubber. only a lamp through wind clarities. (not a, not, a, formula). changing lit’s lace. how fetching, fowl. red, buttons, noticed, before, she, came. not tender, tenderly rendered, heart-rending lee “deus ex machine-esque”— “like glory”

Dawn Ananda

clambers to clutch things in a snake-like grip; model-trim belly, w/ just the vaguest fat-hint towards hip-ends, is often bared in dancing; hair, italian brunette, irish straight, gets caught in her mouth when a harsh caress tenses her; ass, perfect median meager-voluptuous, will raise itself when she chooses a favorite CD; neck, african-elongated, porcelain-pure, frightens in the extreme refinement of its’ delicacy; legs, edible swizzle-sticks & gazelle-gorgeous, become erratic after three or four drinks; tongue, volatile entity-in-itself, is bellwether of nothing whatsoever but what the strokes are up to

lizzie mclean

was all pot roast. hope: that I can’t hold, doll. for you write, wrong. big. bold. ass, a nine-volt shite. “boners were tulips”, yes, butt, I never, have never, buttered heads, as such, w/ you. it’s all weary simper. I, conned, take, your, “can’t”.


chaos, order, clipped bird-like into wings & cries. i could only ever think: paula. all the thrusts & pumps that could never be. “all” that must be withheld, & that it might be better that way. you gave me the gift: savoring wanting. how it really was you i wanted. not a body but a soul. i tell myself i’ve “been through you”, forever & never. zero here, same as two. empty. saturated. dark.

eye eye eye

nile-wide, eye eye eye. a sylph, bee low my buzz. it wants, to do, at mouth. no. not every one. can end, dare-a-licked, like is. or: put it, porn again. dew wit like its done, on, cyber. space, opened, bee twain. no, went in sight. tight tight.

debbie jaffe

& that i must caesar. arms, curd went down. found, mice, shelf, armor machine. wasp it up, & up, & up, real member a machine. then, head, shot, “she said”, she said. feel, linger, can’t. belly, caesar, belly. debit, giraffe, redheaded. purge to null, urge, two, pull. eye, belly, belie. ( )

lucy stingle

yr back’s back in back. black. fingers ride cheeks like sea-foam. soft cut of a hard look. towheaded horse’s ass pony-tail. rather a strong black-strapped sit. quick tongue-dart like plane’s blinking beacon. now I’m “back”, or you’re fronting. easy trick. Rote gimmick. gerund: “gallivanting”. meaning: to parade, wantonly. I’ll, we’ll, give it “back”. easy. still black.

Debra Harnigan

Noting/ cheekbone sluice/ china veneer Impulses/ bathroom stalls/ naughtiness I’m in on it/ gentle as anesthesia/ drops Disrupt/ retrograde attitude/ mercurial Your middle/ leaned up/ lifting belly Your bottom/ budging metal/ melting In-drip/ innards ingrown/ warm war & then the how the went the into the flush

Becky Grace

It’s woven into her, that polo shirt. She might even fuck w/ it. Not “we”, post-we or sub-we, but just “pseudo”, “quasi”, “ersatz”. Nothing w/ “self” in it; nothing implying discrete boundaries. Becky isn’t bounded, or has boundlessness woven into her… Polo shirts are what they are, remain so. If I say “objective correlative”, I bring string into it, so that Becky might be strung up. I don’t deny a “literal” element, or that Becky might stay in. All I mean is, between “us”, there’s “more-than-us”. That’s what I’m “getting at”; it’s woven into me

VIRTUAL PINBALL (with Lars Palm)

Isla Perdida (Lars, w/ Adam)

somewhere between summer & eternity anesthesiologists wonder, where, the whitewash, went. There is certainly need enough for that, they further, muse. In wee hours of morning he claims to speak seven languages; says one of the municipal buses, runs, to a place called

isla perdida which may be where the
horror writers sit & type all day or maybe in some, instances (insomniac anyone?), night-watched. & somewhere between lairs of the liars that be, a little, while, longer

un-blown (now go & sin) (Lars, w/ Adam)

a popular poplar parties w/ pre-menstrual princesses— that's blues for you. i shall over-churn that cop car. though, i'm, no occupational. or force, just a kid, with, shorts, & a slingshot. there's lost. of fun to be had w/ one of toes. god nose, hose down those who got bruised, by, the news. or those used cars w/ broken brakes so poplar among third-rate pop-shears for reasons, un-blown. by the application of solid air-ity banks to issue interest-free loans to make it easier to start businesses in, precarious, areas. or a tuna sandwich, which is what he needs before he heeds the ball to charms. arms race through the face of a shitting sun. one. or more, who's keeping score? sore boards bored pirate-ships w/ swaying hips to counterbalance the rocking & rolling of the waves singing

that old song by queen. bohemian rap-sodden mean, no, mean, feat, by, their talk of lye. to fit right in. now go & sin

this is a song (about how I’m a monkey) (Adam, w/ Lars)

“what about, uh, what about a guy w/ an attitude?” “oh yeah, we got guys like that” I had problems; I was arrested for jay-walking in Los Angeles; I felt, OK, this was this type of character, in fact I met people that were just trying to make a living paradox; “for thirty years you walk side by side, overnight lose everything, but not once do you blame people, so people like yourself can reap the...” filtered through my own perspective, hate-mail, a story...

“I’m a big fan of close-ups”, interested in the human face, there were some beautiful, like, crane-shots, I mean, obviously, the greatest location of the human face, the eyes, the soul of the character, “I feel it but I don’t pay it any mind”

Dick Cheney’s Brain (Adam, w/ Lars)

Dick Cheney’s brain— it’s, a, kneel, right-male. Spend four days, figuring, poor, pabulum. Never get the image out of his mammary. Fox news knocks fuse, few, fugue, death-mew. Pleasure or virtue, which would you blues? Increasingly cloudy morning highs falling, though. Will satellite beer, round, mud, schlonger? Respectshun was none too wood, board crisis, moon. The hip-hop revolution has, taken, plays— ubu boos you. That doesn’t mean the strategy is long run day one. Holding on to fewer & fewer trial, investors, wondering. Serious is set to announce it’s big, also, general, motors. Could be forced to already analysts push chapter eleven. Chick, dainty, s’brain— it promised to back away from that. Promise making a settlement likely

(don't wanna be nobody's) hero (Lars, w/ Adam) “should we not have been here before? were we not here before?” what do you mean by "here" & "before"? is this a dead end? & why should that matter, he asks himself, & the walls, the sun. it wasn't me who last saw him alive. i think it was that man in the checkered suit, you know who i mean; the one who always sings the songs nobody remembers— he sings them well, i'll give him that. one of them seems to be a hymn to the rising tide. oh, & while we’re at it, what do you mean by "been"? unless i spelled that wrong & you're just hungry, not strangely curious about a dead man who (i think) will remain where he is…

Debt (Adam, w/ Lars) "you’ve got a radical extension of debt; it is being noticed; you can find an excerpt in hunger here at home focus on the fact that he’s a dwarf, falling through the Earth; with out a written language, feels shut out” in the trial, lasting howevermany months, fate in hands, “they already had one”, it’s called theology hat’s a life-span, a life-style; not the kind of family (though heavens may fall) the governments talk about they can become show-men, that’s (kind of) what they do; the job was, “done”

hell in (Adam, w/ Lars) there’s a “she” across the street who cooks butternut squash soup an “I” & a “he” One really wonders Sometimes she’s seen in the window stroking her pussy It could jump out the window nothing would change Twenty feet of air divides “us”. She could be painted abstractly I’ve done it. Rhythmic brush-strokes swirling pink for her pussy He hung it

he’s hung I hung around eating her butternut squash What kind of composition is this?

the love of hopeless cusses (Lars, w/ Adam)

what’s there to wonder about? it's all, very, simple. There’s a man across the street from her, on the floor above, who employs whores, she's apparently trying to provoke him into doing something obscene-- that shouldn't be too hard. What’s there to chunder about? there is, as in all major cities, a housing shortage, & it’s solved not by those who should & could solve it, but by those who need to, in any, way, they can. What’s there to blunder about? enough of this, then. i think i'll go fondle some imponderable side-streets………

Virtual Pinball (Adam, w/ Lars) I don't mind you mining for cheap, Google hits, it’s par, for, the, purse. “just give me, my chair, get me out of my, hair”. parse sparse bloghogs. leave, a trail of, hosts— no metaphor. this ain’t no Moulin Rouge. or, you know how I read, it’s cool w/ me. (I was Di’s favorite waste of time)(I’m embedding a god-damned narrative, OK?) “one is over there, one’s over here, it works.” Bertold Brecht, Nicanor Parra, Jimmy Page, Yossarian, Hans Castorp, Rumi (abused by translator), Hmphr Bgrt. Di’s (I’ve never seen) right there. We snuck in her back door, you can fake

cough— we declare an era of virtual (fucking) pinball

body count (Lars, w/ Adam) count one. one of montechristo. who didn't have the strange hobby of draping whole islands in plastic, or whatever, cloth. clothing, some say, should suit the weather. whether the body counts or not, the same some don't say. you don't say. surely madam, you jest. a runaway breast? here, on this street? no wonder all the drivers leaned so heavily on their horns. “sagawa chika”. the last light of the day, normally a deep blue, turned green. & then yellow. that's when the birds took flight in a hurry. to beat the red they all thought was next count two. won't say where, so let's keep with the math. but this is easy. we're just adding one. one what? oh, i don't know. word. thought. political assassination. or attempt at. silly monologue. house perched on mountain side. “alejandra pizarnik”. there was only one. that's quite enough, thank you & don't forget the fish. you did after all bore it into biting your hook. that was rather impressive. watching mount st helens explode count three. we appear also to be subtracting one. line, that is. was it lime we would be hard pressed to make an even half decent “margin -eater”. why ever we would want to do that. “joan brossa”. there is still so much fun to be made of things. & the finger of god blew off in the storm last fall. maybe, just maybe, there is something we could learn from that count four. score & more. sure. a pure pleasure. after those 95 minutes of headless headmasters, witless witnesses & you name it. “philip whalen”. barking back at dogs. laughing with happy chinaman after stealing his sack of candy which, he knows, were poems. posted on fence posts (?)

look a tail today’s worst news run over twice by cops & the sweet animal rights activist didn't have time to save me there's bound to be a cat in here somewhere unbound, hopefully, like that creature called “curiosity” pawing around killing them by the thousands or that wisdom they're supposedly possessed by………. Today’s best news-a ham & cheese sandwich

Jeffrey Side on “Beams”: Galatea Resurrects (2008)
Beams by Adam Fieled is an e-book from Blazevox. It is a multifaceted work that is both formally and typographically inventive, as well as being linguistically intriguing. To do full justice to the poetry in this volume would require a much longer and detailed review of essay length; such is the complexity and multifaceted nature of this work. So all I will attempt in this review is to isolate certain features that can be readily recognised. Beams comprises four titled sections: ‘Beams’, ‘Apparition Poems’, ‘Madame Psychoses’, and ‘Virtual Pinball’ (this latter being composed with poet Lars Palm). Each of these sections contain poems stylistically different to those of the other sections. An important aspect to the ‘Beams’ section is Fieled’s poetic aesthetic regarding it. The poems in it represent his concept of the poetic “beam”. The following is an extract from his exposition of this poetic, which can be read at [A beam is] a short poem, 8-20 lines [not] necessarily impersonal or personal, but it must transcend mere subjectivity […] single lines interspersed function as “beams of light”. They're pure shots into poetic space, flashes of imagery, insight, gist-phrasing, etc. Lightbeams illuminate built-beams [ie architectural structures], built-beams support and buttress light-beams. Together, they posit the BEAM as a kind of “light-house” or “light-structure”. The manifestation of this poetic aesthetic in the ‘Beams’ section applies to all of its poems, but other aspects tangentially related also pertain, particularly where colour (light) and matter (objects) are made to amalgamate in such a way as to produce an almost iridescent affect which draws attention to the “variability” that underlies phenomena (according to quantum theory). The aesthetic result is that material objects are seen to display less than palpable qualities: light becomes semi-palpable in ‘Creep’ (p.7) were it is described as ‘Sponge-light’, and in ‘Leaves’ (p.12) matter becomes semi-iridescent: Leaves tonight are leaning spots of light […] The use of such affects serves to give us a sense of the underlying subatomic volatility that forms the objects of the observed world. It has a sort of Blakean sense whereby the visible world is seen to envelop a subtler one. The world is not all it seems to be. In doing this with words, Fieled makes almost tangible to our senses what can but remain only rational inference if we are reliant on same from a study of quantum physics. No small achievement for a poet. However, the poems are not limited to such affects. They also manage to concisely represent the vicissitudes of human experience in all their variations. In ‘Razor’ (p.8) we find lines such as, edged like needle-scars along arm-veins everything I can’t puncture is there which in association with the lines,

bottoms grow hardened from rubs & sharpness be a baby’s candy not only produce an interesting juxtaposition, but also represent birth and death. They suggest the bitterness, regret, and frustration that is the lot of humanity, yet they also suggest hope in that we become hardened in order for that suffering to become almost as acceptable to us as candy is to a baby. Throughout this collection, a recurring motif relating to sexual struggle is evident. In ‘Sex Hex’ (p.9) we have a deft account of man’s unremitting desire for sexual fulfilment described in almost “biological determinist” terms, yet alluding to the nuances inherent in any discussion of male dominance within a given society, as is suggested by the mention of Foucault: take her up, stroke her belly she’ll think of Foucault The biological controlling impulses of the male driven to physical action is counter-balanced by the cerebral passivity of the female who, by thinking of Foucault, both gives in to the male’s seduction ploy but also demonstrates an intellectuality that is not evident in the male at this particular moment in their relationship. The problematical relationship between the sexes is further evinced in terms of consciousness in the ‘Madame Psychoses’ section. In ‘Sarah Israel’ (p.33) we see how memory almost reinvents or remodels the past regarding a yearned for “other”: I saw her in a seeing not seen by any eye, & the “I” that saw, saw my eye not at all. Here, identity and perception become entwined as the punning of ‘eye’ with ‘I’ demonstrates. This punning acts as a poetic device to illustrate the very real inextricable union that identity and perception must necessarily have. It is a union so binding that the two become mutually exclusive causing the poet confusion as he struggles to wade his way through something of solipsist maze. In ‘Paula’ (p.37) we see the ultimate expression of male sexual and emotional yearning that represents the lot of Everyman: chaos, order, clipped bird-like into wings & cries. I could only ever think; paula. all the thrusts & pumps that could never be. "all" that must be withheld, & that it might be better that way. you gave me the gift; savouring wanting. how it really was you I wanted. not a body but a soul. I tell myself I've "been through

you", forever & never. zero here, same as two. empty.saturated. dark I have quoted the entire poem. Such is its universality pertaining to male desire any commentary by me would be more than superfluous. Indeed, it would not be outlandish to suggest that in this poem Fieled has articulated more than John Donne allowed himself to in those poems of Donne’s that evince similar concerns.

Steve Halle on “Beams”: Fluid/Exchange (2006)
It's something all young poets talk about: how do I promote my work before a collection is published without a steady audience of poetry enthusiasts? Adam Fieled's EP "Virtual Pinball/Madame Psychosis" is as good an answer to this dilemma as I've seen in some time. Building on the success of MiPOesias and its cross publication of print verse with MP3 files of poets reading said work, Fieled's CD-R recording is memorable because the format differs from standard print poetry. In the same way music lodges itself in one's brain, Fieled's polished and practiced reading style on this EP has the same effect, as lines become ingrained in the one's mind after several in-depth listens. It has stated been by many poets and critics that no one reads a poem better than its author, so here we get a taste of how to read not only Fieled's poetry (and his collaborations with Lars Palm) but also post-avant work in general. As a devotee of T. S. Eliot, Fieled is highly aware of the objective correlative, and he works with language as objects to craft a specific emotion instead of being trapped by the lyric or narrative impulses of what one may call mainstream poetry. Take for example the poem "debbie jaffe," which can also be found on nth position in print format. The fun thing about "debbie jaffe" and Fieled's recent poetry in general is the poem is completely different when heard on the EP than read online. The reason for the variance is Fieled's use of similar sounding words or word patterns. In "debbie jaffe," we hear "seize her" when we listen to the poem but read "caesar" when we read it online or "urge to pull" becomes "urge, two, pull." These variances stretch the poem's depth beyond either medium. Another aspect of these homonyms is Fieled's ability to play with the epiphanic "I." Escaping the stranglehold of the epiphanic "I" in contemporary poetics is certainly on Fieled's mind, not only in "debbie jaffe," but also in "eye eye eye," which adds further play as it doubles as a slang expression for exasperation. Fieled's reinvention of narrative allows for sexual tension or frustration in his person poems like "lizzie mclean:" was all pot roast. hope: that i can't hold, doll. for you write, wrong. big.

bold. ass, a nine-volt shite. "boners were tulips", yes, butt, i never, have never, buttered heads, as such, w/ you. its' all weary simper. i, conned, take, your, "can't".

Fieled enhances the tension by using lots of punctuation, which serves to slow the reading of a short piece. The punctuation also gives the poem focus by forcing our attention on single words. This is true as the poem is read or heard as each word's purpose as object is set apart while simultaneously working with the rest of the line. The "Virtual Pinball/Madame Psychosis" EP is worth a listen. Fieled certainly undertakes important language experiments while working outside of the traditional poetry "box" we have become too accustomed to.

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